Piano Fingering
Fingering is best learned by application, but a few basic principles are in order.
Chopin anticipated modern pianism and sought to use the fingers according to their individual capabilities. He saw that the fingers act in coordination with the hand, although each has unique characteristics. He did not try to make the fingers equal by isolating them from hand and arm movements.
For example, the middle finger could be relied on to start a phrase or end one. When reaching into the upper register with an outstretched arm, the middle finger could support the weight of the arm. The thumb, since it is opposite to the other fingers, is able to convey movement directly to the keys. The fourth is a problem. It was created weak. Its tendon is connected to that of the third finger, and has to be trained to play anything more than a passing note. It is not a strong finger, though it can stop a legato run. Chopin's answer to the problem was to avoid the fourth finger, and ask the third and fifth fingers to work overtime.
Think of fingers one and three as bone fingers, since they carry direct line action of the arm to the keys. Consider the fifth finger as a frame finger. It cooperates with the thumb. The fifth finger is short, but it need not be weak. It works best in cooperation with the thumb, but it can support the hand and arm weight if used as a vertical pillar, using one and four because their use extends the hand and constricts the wrist. A free wrist can move about, and allow the hand more freedom. Think of a free wrist as your power source for chords.
The thumb is the key to the flexible motion of the hand. It can cramp when held underneath the hand. To unlock this constricting situation, slowly lift your entire arm level with your shoulder. Bobble the arm light in this outstretched position. Look at your thumb. It should be hanging freely from your hand. Now, let your arm down slowly and position of your thumb as it lies alongside your hand. Raise your wrist slightly and draw the fingers are ready to play - including the thumb.
Do the following simple actions and observe how your thumb naturally cooperates with your other fingers:
Pick up a sheet of paper
Hold a pen and sign your name
Turn a key in a lock
Did you notice how the thumb works in smooth cooperation with the other fingers?
Join us at the FORUM!
Chopin anticipated modern pianism and sought to use the fingers according to their individual capabilities. He saw that the fingers act in coordination with the hand, although each has unique characteristics. He did not try to make the fingers equal by isolating them from hand and arm movements.
For example, the middle finger could be relied on to start a phrase or end one. When reaching into the upper register with an outstretched arm, the middle finger could support the weight of the arm. The thumb, since it is opposite to the other fingers, is able to convey movement directly to the keys. The fourth is a problem. It was created weak. Its tendon is connected to that of the third finger, and has to be trained to play anything more than a passing note. It is not a strong finger, though it can stop a legato run. Chopin's answer to the problem was to avoid the fourth finger, and ask the third and fifth fingers to work overtime.
Think of fingers one and three as bone fingers, since they carry direct line action of the arm to the keys. Consider the fifth finger as a frame finger. It cooperates with the thumb. The fifth finger is short, but it need not be weak. It works best in cooperation with the thumb, but it can support the hand and arm weight if used as a vertical pillar, using one and four because their use extends the hand and constricts the wrist. A free wrist can move about, and allow the hand more freedom. Think of a free wrist as your power source for chords.
The thumb is the key to the flexible motion of the hand. It can cramp when held underneath the hand. To unlock this constricting situation, slowly lift your entire arm level with your shoulder. Bobble the arm light in this outstretched position. Look at your thumb. It should be hanging freely from your hand. Now, let your arm down slowly and position of your thumb as it lies alongside your hand. Raise your wrist slightly and draw the fingers are ready to play - including the thumb.
Do the following simple actions and observe how your thumb naturally cooperates with your other fingers:
Pick up a sheet of paper
Hold a pen and sign your name
Turn a key in a lock
Did you notice how the thumb works in smooth cooperation with the other fingers?
Join us at the FORUM!
posted by Ron Worthy at
8:04 PM
